The Ghoul (2017)

Bitel finds the film an impressively melancholic, brain-bending tragedy whose convolutions reward repeat viewings. He praises its inventive interweaving of reality and delusion, heightened by London’s labyrinthine streets and buildings.

Wendy Ide finds the film a brilliantly perplexing, unsettling psychological thriller. She singles out Paul Kaye’s electrifying monologue and the off-kilter therapy sessions for praise.

Newman finds the film powerful, disturbing and intense, while acknowledging its austere approach will not appeal to everyone. He singles out Tom Meeten’s intense performance and Gareth Tunley’s ambitious filmmaking for praise.

Bray finds the film an auspicious, haunting debut whose psychological twists reward repeat viewing. She praises Tom Meeten’s understated performance for keeping the story grounded while concealing its stranger direction.

Parkinson finds the film an unsettling, unconventional take on a police procedural. He highlights how its investigation blurs the boundaries between fantasy and reality.

The critic finds the film an intriguing, ambitious thriller with a surreal story that keeps viewers guessing. She praises its assured debut filmmaking and its ability to mark Gareth Tunley as one to watch.

Dalton finds the film an effective but ultimately incomplete exercise in suspense, too slight and cryptic to deliver on its mind-bending promise. He praises its steadily building atmosphere and Tom Meeten’s brooding performance, while faulting the screenplay for leaving too many questions unanswered.

Jenkins calls the film a noble failure, criticizing its contrived plotting and hollow emotional core. He singles out Paul Kaye’s midnight monologue as a compelling, beautifully delivered highlight.

The critic finds the ambitious debut intriguing and atmospheric, though its cryptic final act and straight-faced tone can frustrate. Tom Meeten’s complex lead performance is singled out for praise, alongside Alice Lowe’s tender scenes with him.